It’s 2015 and I’ve just picked up my first GoPro-based 360 camera. It’s the Freedom360 F360 Explorer (a mouthful of a name) consisting of six GoPro Hero 4 Black cameras in underwater cases mounted on a cube.

It’s not every day you get to experiment with new forms of media. We’ve seen astonishing new ways to move the camera — from drones to gimbals — that can push the boundaries of photography and videography. We’ve seen the rise of in-depth podcasts from companies like Gimlet Media change the radio game. And news as a whole has seen drastic changes in distribution, from social networks to digital subscriptions.

Trying new technology in storytelling is always a gamble and 360 video is not a unique bet.

We’ve seen the likes of Google Glass’ augmented reality, Lytro’s light field pictures and Soundslides fall into disarray as content producers quickly adopted them and users didn’t.

What is critical to the success of these tools — and their widespread adoption — is how well they integrate into the current media consumption landscape and how familiar a user is with navigating the story experience.

We are in the stone ages of 360 video production. Much like the days of the Nikon D1 (first DSLR) and the Canon 5D (first DSLR to shoot video) we have early adopters and a flurry of Frankenstein-like rigs, systems and solutions to making production as “easy” as possible.

When my GoPro Omni rig arrived in Washington, D.C. I was so excited to test out the “official” 360 rig of GoPro I even did a Facebook Live video of the unboxing to answer questions from my fellow filmmakers.